This paper reflects on an art project developed by the author that was commissioned for the exhibition STILL LIFE/ecologies of perception in 2013 by Trust New Art. The artists brief suggested some kind of response to Leigh Woods where the work would be located. The resultant work ‘Autumn’ (2013) existed in two related forms—as object and as action. The object took the form of a tailored country-style suit printed with a camouflage pattern based on W. J. Muller’s painting ‘Autumn’ (1833). As action it manifested itself as a series of walks beginning in Leigh Woods where Muller’s work was painted, stretching to Bristol Museum where the original painting now hangs. During the exhibition period the artist regularly walked this route across urban/rural thresholds wearing the camouflage suit.
This project then, asks whether a sublime or romantic experience necessarily precludes new ways of relating to or responding to landscape. It reflects Tim Mortons idea of somehow reconciling the critical discourse, poetics and ideology that exists separately around the country and the city. (Morton, 2009).